I LIBRARY OF CONGRESS.! 

# „, . f 

J ^^.^...GrZA I 

# ^ # 

I UNITED STATES OP AMERICA. | 



7^ ?- •^' £ 

THE 

CAEBIAGE PAINTEES' 
ILLUSTEATED MAITUAL. 

CONTAININa 
A TKEATISE ON THE AET, SCIENCE, AND MYSTERT 01' 

COACH, CARRIAGE, AND CAR PAINTIUa, 

INCLUDINa THE LATEST IMPROVEMENTS 

IN 

FINE PAINTING, GILDING, BRONZING, STAINING, VAS- 

NISHING, POLISHING, COPYING, LETTERING, 

SCROLLING, AND ORNAMENTING, 

WITH 

AN APPENDIX, 

CONTAINING USEFUL SUGGESTIONS, RECEIPTS, ETC. ; A 

UST OP THE PRINCIPAL VARNISH MAKERS AND 

DEALERS ; A CORRECT LIST OP CARRIAGE 

AND VTAGON-MAKERS IN NEW 

YORK CITY. 

BY F. B. GAKDNEE, 

A FHAOTICAL NEW YORK COACH AND OBNAMENTAL PAINTEH, 

3sr:H:v7"-"YOi^K: : 

S. E. ^\rELLS, PUBLISHEE, 

389 Beoadwat. 

1871. 






Entered according to Act of Congress, in the year 1871, by 

SAMUEL E. WELLS, 
In the office of the Librarian of Congress, at Washington. 



^^f"'' 



BT. JOHNLAND STEREOTYPE FOUNDRT, BUiTOLK CO., N. T. 



PREFACE 



THIS book is designed to present a clear 
and concise statement of tlie principal 
metliods employed in Fancy and Carriage 
Painting ; and to form a reliable Manual 
for the experienced workman, as well as the 
apprentice. Having been practically engaged 
in the business since 1850, and having paid 
great attention to the art, science and mystery 
of fine painting, I have, in common with 
others, met with many difficulties, which 
careful experiment and perseverance have 
overcome. Therefore, in laying before my 
readers the results of my own experience, it is 
with the hope that my endeavors to aid my 
fellow craftsmen will not fail of appreciation. 



Preface. 



I will detail the methods usually employed 
by others, and the various processes which 
have appeared to me to answer best, because 
of their simplicity, certainty, and economy, 
and I will then leave the reader to judge for 
himself which method is most deserving } 

of his practical consideration. 

The Author. 



THE PAI:NTEES^ MAl^fUAL. 
PAUT I. 



THE TOOLS USED. 

IT is unnecessary for me to enter into details 
as regards the equipment of the shop, for 
that is constituted according to circumstances ; 
suffice it then to say, a paint shop should he 
clean, tidy, and well lighted. 

The tools, colors, varnishes and liquids 
with which we do our w^ork are of the first 
importance, and I will describe those generally 
used in first-class shops, and those which 
experience has taught me to be the best. 

The first tool which claims attention is the 
paint miU. The best, and one commonly 
used by carriage painters, is Harris' mill, manu- 



8 The Painters' Manual. 



factured at Waterville, New York. Tliis is 
made of different sizes, and possesses an 
excellent feature in that when the grinding 
surfaces are worn by long use, they can be 
filed by any handy man with a saw-file and a 
round-file, and so made ^' as good as new." 

The next tool in order, is a marble slab, or 
" stone," with its accompanying '' muller." 
Besides, we have also a medium-sized palette 
knife, and one or two good putty knives, cups 
for colors and varnishes, pails, sponges, cha- 
mois skin or ''shammy," dusting - brushes, 
water-brush or tool, scraping irons, and a 
''burning off" furnace. These comprise the 
" rough " tools, and will be found indispensable 
adjuncts to a well-arranged paint shop. 



BRUSHES. 

For painting carriage parts, and for first coats 
on bodies, we require bristle brushes. The 
best for the purpose are medium-sized oval 



The Painters' Manual. 



9 



varnish brushes, as they invariably wear 
better, and are cheaper than low-priced 
brushes. We also require flat bristle-brushes 
of various sizes. The small or one-inch ones 
we vv^ill call *^ tools," to be used in cleaning up 
on carriage parts. The same quality and 
kind of brushes are used in varnishing, and 
reference will be made to these in other 
pages. 

All bristle brushes should be kept suspended 
in water ; and the most convenient way is 
shown in the engraving, much better than by 
any written description I might give. 




10 The Painters' Manual, 



Nails are driven through the staves of a tub, 
at such a distance from the bottom that the 
water never should be allowed to reach above 
the binding of the brushes. The brushes, 
when suspended by them, should barely touch 
the bottom. 

For fine colors, or last coats, fiat camels'- 
hair brushes or blenders are used ; these are 
bound in tin, and when new, care should 
be taken to tighten the hair by an easy 
squeeze in a vice, of the lower part of the tin 
binding. 

Several of these brushes are required for 
different colors ; it being a bad plan to change 
them from color to color, — and different sizes 
are needed, from one inch to three or three 
and a half inches, wide enough for the quarter 
or back panels of a coach. 

These should be kept clean by rinsing 
lightly in tui^pentine, wiping with a rag, and 
then being suspended in water, the same 
as bristle brushes. Some painters hang their 



The Painters' Manual. 11 



brashes in turpentine, bat this practice is 
found to be injurious, as it soffcens or rots the 
hair, which breaks off in minute pieces when 
coloring a panel or other work, and causes 
more or less trouble. 



VARNISH BRUSHES. 

There exists among painters various opin- 
ions with regard to Tarnish brushes, some 
contending that bristle brushes are best for 
all work, others, that fitch hair brushes are 
best ; and others will use none but " Philadel- 
phia brushes." The latter are bristle, ground 
to a chisel edge. 

I will simply offer my 'ideas'' in this 
matter, and leave the "pudding to be proved 
by the eating." 

I find the best and most reliable varnish 
brushes to be both bristle and fitch-hair. 
For heavy work, such as large panels on 
clarences, coaches, etc., I use the best quality 



12 The Painters^ Manual. 



of elastic bristle brushes, made with a chisel 
edge, but not ground. The brushmaker takes 
the required quantity of bristles for a brush, 
and draws back the outside bristles on each 
side of a centre line, equally and evenly, 
forming a chisel or beveled edge, thereby 
leaving the split end of the bristle on the 
brush — not ground off ; and the consequence 
is, that the brush is softer and more elastic 
than the other description of brushes. These 
brushes can be procured at the principal 
brush stores, and you should be careful in 
selecting thorn; for a *^ laid "brush is worth 
two of those which are "ground.'' A set 
from one inch up to three inches in width for 
finishing coats, and another set for American 
or rubbing varnish are needed ; for it will be 
found that a good job cannot be so certain, if 
the varnish brushes are used for every kind 
and class of work. Have a can made to 
suspend them in, as represented in the ac- 
companying engraving, -svith a tight division 



The Painters' Manual, 



13 




in it, one side being for tlie finishing brushes, 
which should be hung in Enghsh varnish, and 
the other for rubbing varnish brushes, which 
should be hung in American varnish — care 
being taken to keep them always clean, and 
never allowing a change to be made. 



FITCH-HAIR YAHNISH BRUSHES. 

I DO not wish it to be understood that but 
one variety of brush is required ; for fitch-hair 
brushes are indispensable. We do not always 



14 The Painters' Manual. 



have large jobs, or put on heavy varnish, 
therefore for buggies, small panels, or parts of 
heavy work, as coaches, landaus, bretts, etc., 
it is necessary to use those small soft tools 
which lay the varnish so evenly. The best 
quality sell for $1.00 per inch, while a poor 
imitation — and one perfectly worthless — -can 
be had for sixty cents. Always purchase this 
kind of brush from a well-known dealer. 

In varnishing carriage parts, the kind de- 
scribed for painting, will be found excellent. 
These may be kept in the can with the rub- 
bing-varnish brushes. It is well to have 
always at hand an old brush to be used on 
touching up or repaired work. These brushes 
also, should be bound ; thai is, have an extra 
binding, extending over at least one-third the 
length of the hair, when new, or they will be- 
come " flabby " and not work so well. A de 
scription of '^ how to bind a brush " is given 
further on in these pages. 



The Painters' Manual. 15 



STRIPma PENCILS. 

These can be found at any supply store, 
ready made, in quills of various sizes and qual- 
ity. But I prefer making them myself, if for 
fine lines, as they will be cheaper and work 
better. Camel-hair striping pencils are good 
enough for ordinary work, or broad Imes, but 
one should be particular to select those with 
dark-colored, straight hair about one and a 
quarter inches long. These you can cut to 
make fine liners, or put two together for 
broader Unes. Sable-hair striping pencils are 
considered best by some painters, but I use 
them only for fine Uners. The flat pencils 
are preferable, as you can draw a longer line 
before refilling the pencil with color, thereby 
saving time in striping. 



TO MAKE A FLAT STRIPING PENCIL. 

Take a piece of hickory and cut it in the 
shape shown in the engraving at C ; split the 



16 The Painters' Manual. 



B 

end carefully, as at A. ; cut two notclies, shown 
at B ; then take from a large sable-hair pencil 
the desired quantity of hair, and insert the 
ends evenly, and thinly in the split. The best 
way is to stick a pin into the split to hold it 
open, and when the hair is put in, pull out the 
pin. The wood when released will spring to- 
gether, and a piece of thread tied around in 
the notches will hold all together firmly ; cut 
the extreme point carefully Y;ith a sharp knife, 
and the work is finished. These pencils are 
used by holding them edgewise to the work 
and allowing but one half the length of the 
hair to touch — a knack easily acquired. 

Ox-hair pencils have been introduced lately, 
and are found excellent for fine or medium 
lines, where heavy color is used. They are 
made from the hair which grov/s in the ear of 
an ox. They are not expensive, and I advise 



The Painters' Manual. 17 



a trial of them. They can be found at almost 
any carriage-painter's supply store. 



ORNAMENTING PENCILS. 

ORNAMENTiNa pcucils are bound in tin or 
brass, with long cedar handles. The best are 
sable-hair, costing from ten to fifty cents, ac- 
cording to size. Some very fine ones are 
made expressly for painting ornaments, crests, 
monograms, etc., on carriages, and will serve 
many purposes on fine work. 



LETTERING PENCILS. 

The best lettering pencils are of sable-hair, 
and are in quills, the same as striping-pencils, 
but the hair is shorter. *•' Wagner's black 
sable pencils " will be found excellent and 
not apt to *' crinkle" in heavy lead colors. 
Camels'-hair lettering pencils are well enough 
for some work or for light-bodied colors, but 



18 The Painters' Manual. 



I do not advise their use, as the sables are so 
far superior. I have used one of '' Wagner's " 
pencils seven months, constantly, every day, on 
soda and sarsaparilla wagons, milk and pedlar 
wagons. There is a lettering pencil now in 
market bound in tin, but I beheve they are no 
better than the quill pencil. 

Striping pencils should be well rinsed after 
use, and well greased with tallow, (from a two- 
cent candle,) then spread evenly on a piece of 
glass and kept in a box out of the dust. Let- 
tering and ornamenting pencils may be 
greased and laid Ccarefully away in a box, and 
when well rinsed in turpentine they will be 
ready for use. Another tool for striping, and 
one which deserves particular notice, is a 
" mathematical " pen. It is generally adjusted 
to a pair of dividers ; a beautiful stripe can be 
made by it on panels, or on any part where 
the dividers will work. The colors used with 
the pen must be mixed in beer, or vinegar to 
which a little sugar is added. Fill the pen 



The Painters' Manual. 19 



with a short-liair camel brush. Do not dip 
the pen in the paint. A httle practice will 
enable you to master the art of using this tool, 
and no painter will be without one when he 
has proved its efficacy. 

There is a patent striping machine for panel 
work, which answers a very good purpose, 
which was 'invented by George Crossingham, 
Croton Falls, New York, but it is not yet in 
general use. 



PALETTES. 

For lettering or ornamenting, we use the 
usual artists' palette, which can be found 
almost anywhere in the paint stores. For 
striping, I use a palette made of zinc, that 
metal being very easily cleaned, and always 
presenting a smooth surface. A piece four or 
five inches long and two inches wide, is all 
that will be required ; and you must never 



20 The Painters' Manual, 



lieat it to remove dried paint, but wipe it off 
after use, with a rag and turpentine. 



TUBE COLORS. 



Tube colors, for ornamenting and striping, 
are decidedly the best. I give below a Hst of 
those most frequently used. They wiU dry in 
twenty-four hours, but if a quicker drying be 
desired, a httle sugar of lead (which is to be 
bad also in tubes) may be added, which will 
not affect the colors, hke most other driers. 
A mixture of these colors can be made to 
secure any desired shade. 



LIST OF TUBE COLORS. 

Asphaltum, Carmine, 

Antwerp Blue, Vermilion, 

Blue Black, Light Eed, 

Bone Brown, Indian Eed, 

Bitumen, Venetian Eed, 



The Painters' Manual. 21 



Brown Ochre, 
Burnt Eonian Oclire, 
Burnt Terraverde, 
Chrome Yellow, 
Chrome Green, 
China White, 
Chinese Vermilion, 
• Flake White, 

Cremnitz White, 

Snow-White, 

Indigo, 

Italian Pink, 

Kings Yellow, 

Naples Yellow, 

Olive Lake, 

Munich Lake, 



Yellow Ochre, 

Burnt Sienna, 

Eaw Sienna, 

Burnt Umber, 

Eaw Umber, 
Madder Lake, 

Ivory Black, 
Verdigris, 

. Vandyke Brown, 
Emerald Green, 
Ultramarine, 
Prussian Blue, 
Chinese Blue, 
Terraverde, 
Yellow Lake, 
Sugar of Lead, 



Drop Lake, 
,and fifty other colors, which can be found in 
'the catalogues of supply stores ; but the above 
are those principalhj desired. 



22 The Painters' Manual. 



ORDINARY COLORS. 

First on the list of colors, is "White Lead, 
from the fact that it forms the base or foun- 
dation of all our work. There are but two 
brands which I can recommend with confi- 
dence. Jewett's (Am.) and Atlantic (Am.). 
These brands will be found of uniform quality, 
and as good lead goes farther than common 
or low-priced lead, it is cheaper in the end. 
I shall use the term " keg lead," when speak- 
iug of this color in these pages, to distinguish 
it from dry white lead, which is used often, 
and is an excellent article for many purposes 
where we do not desire oil. 

Keg lead is used pure for first coats or 
priming on all our work, and is mixed with 
raw linseed oil only. We mix the paint quite 
thin, as it is our desire to fill the grain of the* 
wood, rather than plaster a thick coating 
of paint on the surface. When white is used 
as a color — as on stages, express, or pedlers' 



The Painters' Manual. 23 



wagons, — mix the keg lead with turpentine, 
adding a little rubbing varnish to bind the 
paint and assist in drying ; a little oil may be 
also added when great durability is aimed 
at. 



OTHER PRIMARY COLORS. 

Lampblack, Crimson Lake, 

Drop, or Ivory Black, Yellow Lake, 
Prussian Blue, Scarlet Lake, 

Paris, or French Green, Carmine, 
Ultramarine, Dutch Pink, 

Rose Pink, Turkey Umber, Eaw 

Chrome Green, and Burnt. 

Indian Red, Italian Sienna, Raw 

Emerald — dark Green, and Burnt. 
Red Lead, Trieste, 

Chrome Yellow, Chinese Blue, 

Engl. Vermilion, deep, Chinese Vermilion, 

light, Venetian Red, 
Orange yellow, English Filling, 



24 The Painters' Manual. 



American Vermilion, Red Lead (Eng.) 

Munich Lake, Metallic Paint, 

Drop Lake, Yellow Ockre, 

riorentme Lake, Vandyke Brown, 
&c., &c., &c., &c., 



GRINDING BLACK. 

It is the usual i)lan to grind drop or ivory 
black, when mixed with Japan or rubbing 
varnish, but I frequently mix that color when 
I wish to hav^ it extra fine, as follows : 

Mash up the lumps on the ''stone," and 
mix with turpentine to the consistency of 
thick paste ; put it in the mill, add a very 
little Japan, and grind the mixture as fine as 
the mill will work. Then add a little rubbing 
varnish to bind the color well, and it will be 
found a very excellent v/orking color. 

My theory for this method of mixing black 
is, that turpentine being very volatile, is 
absorbed by every small grain of black, and 



The Painters' Manual. 25 



consequently softens the same, so that it grinds 
to an " impalpable " liquid ; while color mixed 
ynth Japan or varnish is not softened, but a 
slimy material is produced, which merely 
covers the fine grains, and they are not dis- 
solved, as by turpentine. This plan is easily 
tried, and if you do not agree with me I very 
much mistake. 

Always bear in mind that colors must be 
mixed with Japan, varnish or oil, to bind the 
paint ; while turpentine is used chiefly as a 
vehicle to enable the color to be spread evenly 
and smoothly. 

In mixing ultramarine blue with oil, it will 
freque;itly be found to "crawl" or "run;" 
this can be obviated entirely by adding a few 
drops of water or spittle to the mixture, which 
causes it to take the form of a paste, and pre- 
vents any further "running" or "crawling." 
Ultramarine is, I believe, the only color so 
affected, and it is also the worst color to "run," 
notwithstanding it is one of the " trio " — red. 



26 The Painters' Manual. 



white, and blue, — which are said to never 



"run." 



TO PREVENT VERMILION FROM FADING. 

English Vermilion should be mixed with 
rubbing varnish and oil, instead of Japan, as 
the latter has a tendency to injure the color. 

Light English Vermilion is used for striping 
and ornamenting or lettering ; the deep ver- 
milion having less body, will not cover good. 

Vermilion is well known to fade or turn a 
blackish brown ; this can be obviated, and the 
color preserved for a long time, by adding to 
the dry color before mixing, one- eighth part 
of flowers of sulphur, which can be obtained 
at any drug-store. The old masters used this 
secret in their paintings, and their colors are 
known to stand the wear of years. 

American Vermilion should never be ground, 
as the process would change it to an orange 
color ; while green, Indian red, chrome-yellow, 



The Painters^ Manual. 27 



nnd all heavy body colors are better, if ground 
as fine as possible. Raw oil is preferable to 
boiled ; it being more volatile, penetrates the 
pores of wood better, and forms a harder and 
more durable surface for the succeeding coats. 



PREPARED COLORS. 

I WOULD here call the attention of the reader 
to the prepared colors of Masury and Whit on, 
Globe Lead Works, of New York. These 
colors are mixed in Japan or varnish, and 
ground very fine ; they dry very quickly and 
"dead." Having used the ivory black, pre- 
pared by the above firm, I can recommend 
it as superior to anything else of the kind I 
ever tried. These colors are prepared ex- 
pressly for carriage painters, and every color 
desired can be obtained at the principal stores, 
in cans or pails, ready for use. For painters 
who have no conveniences for grinding or 
mixing colors, they will prove of great value. 



28 The Painters^ Manual. 



COMBINATION OF COLORS. 

The various shades a^d tints which can be 
produced bj mixing different colors are so 
numerous, that I will curtail my remarks on 
this subject, preferring to leave the reader to 
discover by experiment desired shades, as the 
knowledge thus obtained will be of greater 
use and value than any written rule. The 
'* strength " of colors, also, varies, so that no 
particular quantity of each can be safely 
advised. However, to aid the amateur, tho 
following suggestions may be of service. 

Lead color, Keg Lead and Lampblack. 



Fearl " 


(( 


Prussian Blue and Ked.. 


Salmon ** 


(( 


Blue, Yellow and Red. 


Drah ** 


tc 


Yellow Ochre and Black 


French Gray, 


a 


Black, Blue, and Red. 


Pea Green, 


It 


Chrome, or Paris Green. 


Slate color. 


n 


Black, Red and Blue. 


Cream ** 


a 


l^'ellow and Red. 


Straw ** 


It 


YeUow. 


Fawn '* 


tt 


Ochre and Vermilion. 



The Painters' Manual. 



29 



Peach-blossom, Keg Lead, & American Vermilion. 
Purple color, *' Blue and Eed. 

Rose '* *' Carmine or Lake. 

Silver Gray, " Blue and Black. 

The above are all mixed with keg lead for a 
base, and the colors added to suit the taste of 
the painter. 

Lidian Ked and Black or Blue. 

Venetian Ked and Lampblack. 
Bark green, Lampblack and Chrome Green. 
Orange, Ked and Yellow. 

Grass green, Green and Blue. 

Olive, Ked, Green, or Black, Yellow and Ked. 

Snuff-color^ Yellow, Sienna and Ked. 



Brown, 
it 



PART II. 
CAERIAGE PAINTINa. 



FOUNDATION. 

To illustrate clearly the method of painting 
a new carriage, we will take a buggy and carry 
it through its various stages from the smith- 
shop to the trimming-shop, and finish it for 
the repository ; and here I would remark that 
the process will be the same for heavy work, 
such as coaches, clarences, broughams, bretts, 
rockaways, etc., with the exception that on the 
latter class of work we must, to insure good 
work, put on, perhaps, more paint in the foun- 
dation, as the style and finish are superior and 
the work in general is expected to wear longer 
than light buggy work. 

The body, having been finished by the body- 



The Painters' Manual. 31 



maker, is brought to the paint shop. We dust 
it thoroughly to remove all saw-dust and dirt, 
and proceed to coat it with priming. See 
page 34. Every nail-hole and crack is well 
filled, and the priming well rubbed into the 
grain of the wood. For this work a well- 
bound brush, or a brush partly worn, is best. 
Clean out all corners with a small stiff brush, 
leaving no patches of paint on any part of the 
job. The wheels, beds, bars, shafts, etc., of 
the carriage part being at hand, we give them 
a coat of the priming also, and they are then 
ready for the blacksmith. The body will re- 
quire more paint, and while the smith is 'dron- 
ing " the running part we will " fill up " the 
body. 

Three or four days having passed since we 
" primed " the body, we sandpaper it lightly 
to smooth the grain and remove any lumps of 
lead, with No. 2J sandpaper ; then put on a 
smooth, even coat of No. 1 lead (See Page 22), 
set aside to dry hard, and perhaps in two 



32 The Painters^ Manual. 



days this coat will be hard enough to " putty 
up." (See Putty, page 35). When the putty 
is dry, sandpaper again ; dust well and apply 
paint No. 2 (page 65). Allow this to dry, 
then putty up all the small holes, cracks and 
imperfections, plastering over with soft putty 
every part where the grain is coiu^se or very 
open. After the body has stood long cjiough 
to dry, paint No. 3 is then next in order. 

A great deal depends on the paint being 
perfectly dry before another coat is put on, 
and therefore give all the time possible be- 
tween each coat. The third and fourth coat 
of lead having been put on, everything puttied 
up smooth, and all dry, we are ready for the 



ROUGH STUFF. 



Some painters use yellow ochre for a rough 
stuff; others, mineral or fire-proof paint, and 
others stiD, English filling (ground slate). I 
prefer the latter, mixed as follows : 



The Painters' Manual. 33 



Take three parts of filling, two parts dry 
white lead, one part keg lead ; mix with 
Japan two parts, rubbing varnish one part ; 
dilute with turpentine ; and run these compo- 
nents through the mill to crush the lumps and 
thoroughly mix them. 

Three coats of this is now put on the princi- 
pal parts of the body, each coat being allowed 
time to dry hard. (For heavy work I advise 
more) ; then, to enable us to see, when rub- 
bing^ that the surface is level, we " stain " 
the whole with lampblack mixed in Japan 
and turpentine. 

Yellow ochre rough stuff, when looked at 
with a microscope, after being rubbed, pre- 
sents a porous appearance like the end of a 
piece of rattan, which shows th<3 cause of 
varnish "flattening" or striking in on many 
jobs ; yet, there are jobs done with this 
pigment used as a filling where no imperfec- 
tions can be found in the finish. English 
filling forms a slate-like surface, perfectly 



34 The Painters^ Manual, 



solid, and years of use have proved it to be 
about the best filling. 

The body being now ready for ironing, we 
will look at the foundation coats, and see how 
they are mixed. 



PRIMlNa. 



Mix keg lead to the consistency of mill: — 
country milk — with pure raw oil. 

No. 1, OB First Coat of Lead. — Mix keg 
lead mth raw oil two parts, Japan one part, 
to make it proper for a thick coat, adding a 
very little turpentine to allow it to work 
easily. For carriage parts add a little lamp- 
black, but not for bodies. 

No. 2, OR Second Coat of Lead. — Mix keg 
lead with one part raw oil and two parts 
Japan, and a little turpentine, as before, 
adding lampblack for carriage part, but none 

for the bodv. 

»/ 

Nos. 3 and 4, OR Third and Fourth Coats. — 



The Painters^ Manual. 35 



Mix beg lead into a thick paste mth turpen- 
tine, add a little oil, Japan and rubbing var- 
nish to bind the paint well ; add, for the 
carriage part, a little lampblack, and if handy, 
a little red lead, which will make it sandpaper 
nicely. 



HARD DRYING PUTTY. 

Mix dry white lead with Japan and rubbing 
varnish equal parts, to the proper consistency, 
beating it well with a mallet to thoroughly 
mash the lumps. Keep it, when not in use, 
in water, to prevent it from drying. 

If it be necessary to put on more paint to 
properly fill the grain of the carriage part, 
the Nos. 3 and 4 will answer all purposes. 
These lead colors should all be ground as fine 
as possible ; they will then fill up the wood 
better and go farther, besides necessitating 
less sandpapering. 

The buggy having now arrived from the 



36 The Painters' Manual. 



smith-sliop, we will "strip the job," i. e., take 
off the body, remove the loops, dash, steps, 
and foot-rail, and prepare to rub the body 



OUT OF ROUGH STUFF. 

This is done by rubbing the surface with 
lump pumice stone and water. Here I would 
call the reader's attention to a prejDared stone 
for rubbing made into cakes of convenient 
size and shape, and of various degrees of 
" grit.'' I have used it and find it an excel- 
lent article. The maker's name is forgotten, 
but it can be found at the principal stores. 

The pumice stone having been cut with an 
old saw and filed level, or into various shapes, 
we proceed with the rubbing, keeping the 
surface well wet with water, as the stone cuts 
faster and is less liable to scratch, when plenty 
of water is used. 

Take care not to rub more than is sufficient 
to take off all the stain ; wash off clean vdth 



The Painters' Manual. 37 



cold watsr, and dry thorouglilj. It is very 
probable that small dents or scratches will be 
found in the surface, and to make sure of a 
perfect foundation for the color, we will pre- 
pare some 



FACING LEAD. 

Mix dry white lead with tvv'^o parts Japan, 
one part rubbing varnish, and thin with tur- 
pentine, adding a little lampblack to make a 
clean-looking lead color. Grind as fine as 
possible, rub the body off lightly vvith No. 1 
sandpaper, dust well, and apply the facing 
lead with a camels'-hair brush, laying the 
paint on evenly and quickly. When dry, 
which will be in five or si:x hours, go carefully 
over with soft putty and fill all scratches or 
imperfections perfectly. Allow all to harden ; 
then with the finest pieces of pumice stone 
gently rub or "face it down ;" wash off; clean 
out the corners, and the body is ready for 
coloring. 



38 The Painters' Manual, 



The irons of the body, such as steps, loops, 
&c., are also ready for color, having been pre- 
viously leaded. 



THE CARRIAGE OR RUNNING PARTS. 

Take No. 2 J sandpaper and cut down every 
part of the carriage, until there appears to be 
nothing but the new wood and iron left, taking 
care not to cut the corners of the spokes, bars, 
etc. By this means you remove every particle 
of blacksmith smoke, dirt and grease, and will 
provide against trouble in future o^^erations. 

The lead color No. 1 is now put on, using 
the oval brushes and *Hool ;" the latter being 
used to wipe around nuts, between spokes 
and springs. Allow time for drying, and then 
putty up all the large holes ; sandpaper and 
.apply No. 2 (page 65). Eepeat this process 
until the third and fourth coats are hard and 
dry ; then with partly worn sandpaper pre- 
pare it for the color. 



The Painters' Manual. 39 



COLORING CARRIAGE PART. 

Let us suppose carmine to be the color 
desired. "We mix a preparation or ground 
color for vermilion, i. e., keg-lead and American 
vermilion to a light pink color, with Japan, 
varnish and turpentine, grinding very fine and 
laying on with a camels'-hair brush. When 
dry we put on deep English vermilion, and 
when that coat of " dead color " is dry, add 
sufficient rubbing varnish to make coloring 
varnish, and apply a heavy coat. This, when 
dry, is to be rubbed with pulverized pumice 
stone and water, using a thick woolen cloth 
for a rubber. Wash off, dry well with a 
" shammy,'' and if it is to be striped black, 
we will stripe it before putting on the car- 
mine. 

The striping being finished (a double fine 
line of black), mix French carmine. No. 40, 
Avith English hard drying varnish, and grind 
as fine as possible. Then add more varnish. 



40 The Painters' Manual. 



that the color be not too strong ; and apply 
-with a fitch-hair brush. The English varnish 
will require at least forty-eight hours to dry, 
unless a little gold size has been added, and as 
we have already gone ahead a little too fast, 
we will look at the body. This we will sup- 
pose to have had a good coat of preparation, 
?. e. lampblack, a good coat of ivory black, and 
a coat of black coloring varnish. 

Black coloring varnish can be made by 
adding '^ dead color " to rubbing varnish, but 
a far superior article can be obtained from 
Messrs. Smith, Baldwin and Company, of New 
York. This firm furnishes a black coloring 
vaiTiish, made with English ivory black, and 
their rubbing varnish ; it dries quickly, sets 
conveniently, and is by far the best article in 
the market. Use a fitch-hair brush to put on 
the coloring varnish. The body and carriage 
part are now in coloring varnish, and the car- 
riage part is glazed with carmine. We will 
now give the body two coats of rubbing var- 



The Painters' Manual. 41 



nish, rubbing with fine pumice stone between 
each coat, and the trimmer can then put in the 
seat linings, etc. 



VARNISHING. 

The varnish-room should be well cleaned, 
walls dusted, floor well wet, and if the weather 
is cold, a temperature of seventy-five or eighty 
degrees maintained by a clean tight stove, or 
what is better, steam-pipes. The carriage 
part and body having now been nicely rubbed 
down and well cleaned, we begin with the 
carriage part. Eaising all the wheels from the 
floor by two boxes or barrels placed under the 
axles, we prepare the varnish and brushes. 
American finishing varnish ^s good enough 
for this part, and with our oval varnish brush 
and flat " tool " we take our position in front 
of the wheel with our left hand on the rim to 
turn it ; with the " tool " we spread the varnish 
heavily between the spokes, and up the front 



42 The Painters' Manual, 



as far as the V shape of spolies extend ; then 
with the large brush we lay on an abundance 
of varnish on the side of the spoke nearest 
our left hand, then opposite, and then reach 
over and cover the back. 

Now wiping out all the varnish in the brush 
on the edge of the cup, we repeat the opera- 
tion with the dried brush, laying off the 
varnish smoothly and removing the bubbles. 
Next we varnish the hub, and wipe with the 
"tool'' around the "butt" of the spokes; 
then varnish the inside of the rim between the 
spokes, finishing the back and front sides last. 
"We keep the wheel turning for a moment 
or two until the varnish flows evenly, and 
proceed with the other wheels in the same 
manner, finishing the springs, axles, etc., lastly. 

The body i^ next looked after. Taking our 
body finishing brushes (the fitch hair brushes 
are best for the buggy), and for finishing 
bodies I prefer Noble & Hoare's hard-drying 
varnish and Harland's wearing body-varnish. 



The Painters' Manual. 43 



mixed in equal parts, we begin with tlie 
inside — for which we should have a pair of 
brushes and a cup expressly. In laying on a 
heavy coat, we level it off nicely, leaving the 
brush marks faintly perceptible up and down 
the panels, always leaving the work before 
it begins to set. 

The outside we next look after, and flow 
the varnish on very heavily, but as evenly 
as possible. We lay off from end to end, then 
across from bottom to top, and repeat ; wiping 
out the brush on the cup, and leave the panel 
with the last movement up and down. We 
clean out under the mouldings with a small 
brush, and bear in mind that a heavy flow 
must be wiped upward, never down. Having 
been all over the body, with a piece of whale- 
bone — which should be at hand, one end being 
sharpened to . a poiut — vv^e go over the work, 
picking out any hairs, dust, etc., and then 
close up or darken the room and leave the job 
to drv. 



44 The Painters' Manual. 



In cleaning a body preparatory to varnisli- 
ing, I find it an excellent plan to use, after 
dusting with the dusting-brush, a piece of silk 
(an old sun curtain for instance,) dampened 
with sweet oil. With this I gently wipe the job 
over, but not enough to grease the surface, 
and it removes every little particle of dust or 
lint left by the shammy and duster. 



YARNISHES. 

There is no class of people more pestered 
with peddlers, if I may so term them, than 
carriage-makers are with varnish agents. 
Every few days an agent of this sort makes his 
appearance, and sometimes proves an intole- 
rable bore. I do not frown upon the enter- 
prise and go-a-head-a-tive-ness of the agent or 
his employers, for such a spirit is well enough ; 
but I have frequently had occasion to object to 
the perseverance of such men in seeking the 
foreman, after a denial from the " boss," and 



The Painters^ Manual. 45 



trying sometimes by bribery, to get him to 
assist with his influence in introducing the 
vaunted varnish. Some bosses, to get rid of 
the agent, order varnish '^for trial," and the 
workman then has to run the risk of spoiling 
his job ; for being unacquainted with the var- 
nish — and all varnishes manufactured by dif- 
ferent makers have their respective peculiar- 
ities — he goes at the work with more or less 
nervousness and hesitancy, and is almost cer- 
tain to turn out a poor job. 

Always *'let well enough alone," if you have 
good varnish and know 'low to use it ; let the 
new man, with his new varnish, negotiate with 
some new shop, where new work is done, by new 
hands. 

I do not wish to be understood as taking a 
stand against improvement, but as a general 
thing, there are too many changes with regard 
to varnish made in many shops. Neither 
would I speak disparagingly of varnish manu- 
facturers, but would give all a fair show. Let 



46 The Painters' Manual. 



those, however, who prefer one maker's goods 
patronize him. "Each one to his taste." I 
echo the sentiments of a score of painters, and 
should not be judged harshly therefor. 

I have a preference for varnishes, and will 
'without fear or favor state that in the twenty 
years' experience which I have had, I have 
never used varnish on which I could place so 
much reliance as that made by Smith, Bald- 
win & Co. This is no advertisement para- 
graph, but the honest conviction of the author, 
and should there be those in the fraternity 
dissatisfied with the varnish which they have 
been using, I ask them to prove for themselves 
my words. 

There are different opinions existing as re- 
gards the necessary qualities of varnishes — 
some preferring a quick-setting varnish, and 
others, a slow-setting one to enable them to 
"lay off" well ; consequently each must try for 
himself. The rubbing varnish made by the 
house just mentioned dries hard and quickly. 



The Painters^ Manual, 



leaving an excellent surface to rub on ; while 
their finishing varnish has a brilliant gloss, and 
can be laid on aa easily as one could desire. 

Messrs S. B. & Co.'s coloring varnish I 
have already mentioned, though, I repeat, that 
I have never seen its equal. 

In re-varnishing old work it is net well to 
put English on the old surface, it being apt to 
"crawl" or "pit," therefore I invariably use 
the above American varnish first, and finish 
with "Wearing English. 

A newly finished job should always be 
washed with clear cold water, and dried witb 
a clean shammy, before allowing it to leave the 
paint shop ; this hardens the surface and pre- 
vents the dust from sticking to it. 

If varnish is found to "crawl," wipe the 
surface with a damp shammy. Never dilute 
varnish with turpentine, as it kills the gloss. 
If too thick, warm it by the stove or place the 
cup on a warm iron. 



48 The Painters' Manual. 



POLISHING. 



PoLisHixa on carriages is now among the 
things of the past ; but to describe the metho'd 
will not be amiss, perhaps. 

Finish your job as smoothly and cleanly as 
possible with American finishing yarnish, and 
let it stand at least ten days ; then rub down 
with pumice-stone the same as if a rubbing 
coat ; clean off, and rub again with rotten 
stone ground fine, until the marks of the pum- 
ice-stone are all obliterated ; next rub with 
rotten stone and oil until a gloss appears. 
Then substitute Spanish* whiting for the rotten 
stone ; this should be washed, i, e. : 

Mix the whiting in a pail of water, until like 
milk : let it settle a moment to get the stones, 
dirt or lumps out ; pour off the milky liquid 
into a clean pan, and let it settle thoroughly : 
poiu- off the clear water and dry the sediment ; 
it will be an impalpable powder, and mixed with 
the sweet oil will produce a good polish on the 



The Painters' Manual. 49 



panel. Clean all off with soft silk, and you 
have a glossy surface, superior to varnish in 
point of wear — but not in looks. 

Fancy boxes may be polished in this way, 
and are better than varnished surfaces. Fur- 
niture, pianos and fancy articles are generally 
polished, and there are preparations to be had 
at furniture stores for re-polishing, which an- 
swer a very good purpose. 



PAINTING COACHES, ETC. 

The modus operandi of painting heavy jobs 
differs but little in the foundation coats from 
light work : therefore I will not enter into de- 
tails with regard to it. The workman must be 
more particular with this work, but one who 
can paint a buggy well should be able to get up 
a good job on heavy work. Confidence in 
your abilities is one half the battle. 

The panels of such work are generally painted 
in colors, while the pillars, top-strip, quarters, 



50 The Painters' Manual. 



deck, etc., are always black. Umber colors, 
lakes, greens, and blues are some of the best 
colors used on this work. To prepare the body 
for any of these colors, we should use a 
ground color in the iplace of lampblack on black 
work. 

The following are a few of the grounds mosb 
approved. 

Lake. — Indian red and vermilion mixed to a 
dark brown, though some prefer a black 
ground for lake. 

Lake should never be mixed to dry ^ dead,' 
but with a subdued appearance, by putting in 
varnish enough. The best way is to try it on 
a board before laying on. If ^' deal," it loses 
one-half its brilliancy, and will be apt to be 
cloudy. 

Ultramarine. — Mix a medium blue with keg 
lead and Prussian blue. 

Vermilion. — A light pink color is generally 
used as a ground for vermilion, but if a pure 
white ground is gotten up from the beginning, 



This Painters' Manual. 51 



you will find the color to cover well, and lose 
none of its pristine beauty. Don't forget to 
put flower of sulphur into your vermilion, 
as spoken of on ^d age 26, to preserve the color. 
Geeex. — Green and all heavy-bodied colors 
will cover well on the lead color without any 
ground color. 



TO PAINT PANELS CARMINE. 

To make a good job with carmine, W'e should 
get up an English vermilion ground, into 
coloring varnish, vrell rubbed down with 
pumice stone ; for we cannot rub a great deal 
after the job is glazed. Some painters mix 
their carmine glazing with rubbing varnish 
and oil, but you will find such jobs frequently 
'^ spotted ;" the best v/ay is to mix in English 
varnish, adding a little gold size for a dryer ; 
this flows evenly and does not cloud or spot if 
properly put on. "When a job is glazed, rub it 
carefully and apply a coat of American finish- 



52 The Painters' Manual. 



ing and rubbing, mixed in equal parts. This 
can be rubbed for finishing coats, whereas 
if rubbing varnish be put on over the glazing 
it might crack, — but the mixture will stand 
the wear of years. 

Ultramarine blue panels can be made the 
same way, the ground being gotten up vnih 
Prussian blue. 

A beautiful wine color or lake may be made 
by glazing Indian red or brown with carmine. 

A brilliant green may be produced by a 
light pea green glazed mth verdigris or with 
Paris green. 

Striping may be glazed in the saDie manner, 
but of course on dead striping color. 

Some painters put on glazing the same as, 
and in the place of coloring varnish. I think 
this a very poor plan, as you have no chance to 
rub the surface imtil there is so much varnish 
over it, that the color is injured. 

The workman by experiment can discover 
many splendid variations of shades and tints 



The Painters' Manual. 53 



by the glazing process, and his labors v/ill be 
better rewarded by knowledge acquired in that 
manner than if I were to extend this article to 
greater length with more precepts. 



STRIPING. 



"When tube colors are used for striping, 
there will be no trouble experienced in mixing, 
as they only require thinning with turpentine, 
and the addition of a little sugar of lead. 
We must use our own taste in striping ; 
though governed a little by prevailing styles. 
It would be folly for me to dictate any 
particular style. The manner in which strip- 
ing is done can be learned in three minutes 
by looking at a workman while at work, but 
long experience is required to perform the 
operation well ; suffice it then for me to say, 
get good tools and colors and practice on 
a wheel or board painted for the purpose, 



54 The Painters' Manual. 



until you can master the art, for only practice, 
patience and perseverance can accomplish it. 

When striping on solid color, the ends 
of the stripes or any imperfections can be 
"cut off" or improved with a little of the 
'' dead " color, but on a glazed or light color 
the "cutting off" would show, therefore, when 
thus employed on these colors we have a little 
oil ready, and before the stripes are dry, we 
draw a pencil filled wdth the oil across the 
ends. Then the strijoes will dry everywhere 
but in those places where the oil is, and then 
they can be washed off with soap and water 
after all the rest is dry — and thus leave the 
stripes with a square end. Bronze striping is 
fashionable, while glazed stripes are always 
considered beautiful. (See Bronzing and Gild- 
ing-) 

Striping with a mathematical or drawing 

pen will be found excellent on panels or 
sleighs. 

Scotch plaid work is now out of fashion, as 



The Painters^ Manual. 55 



well as cane work, or raised cane. The latter 
" raised Cain " with many who did not know 
its secret, and although an extended article 
could be written on that kind of work alone, 
and would be considered interesting by some, 
its antiquity will not warrant more than this 
brief notice. 



ORNAMENTING. 

This art requires practice, and the orna- 
menter should be able to draw well. However 
there will be found in these pages rules 
for copying, by which a medium workman 
may execute fine ornamental work, with but 
little knowledge of drawing. 

Monograms being more fashionable and by 
far more appropriate for this country than 
Coats of Arms, I will endeavor to aid the 
workman in executing these "tangled up" 
letters. The letters of monograms are not 
confined to any particular style or size, yet 



56 



The Painters' Manual. 



there is a peculiarity about them not found 
in other places. I show on another page 
letters suitable for monograms ; the workman, 
to twist them up, will copy them (as shown 
hereafter), and laying the two or three letters, 
as desired, against the window, can "lay them 
out " to suit his taste. 

It may be necessary to make some letters 
larger, as seen in the monogram of the author 




The Painters' Manual. 57 



on the frontispiece. This, a little practice will 
render easy. 

The form of monograms may be sometimes 
made to represent the vocation or business of 
the owner, as shown in the accompanying 
engraving. The initials are T. M., made with 
a broken anchor and a rope, while the flukes, 
or broken parts of the anchor, form the 
ground. This monogram may represent 
Thomas Moore, a sea captain, or sailor. Such 
ornaments are generally expensive, if the 
services of an artist are called into requisi- 
tion. 

The "prominent letter" is generally the one 
covering the greatest part of the outside space, 
or, to define it more clearly, in a monogram 
composed of H. D. C, the C, which should be 
the "prominent letter," is made largest and 
almost encircles the whole monogram. 



*(•■) ' 



68 The Painters' Manual. 




The Painters' Manual. 69 



GILDING. 



This beautiful art requires our special 
attention, for it appears to many to be a very 
troublesome operation to execute "well. But 
it is easily done, as my remarks will show, 
and a little experience prove. It is best wlien 
gilding on carriage or wagon work, where the 
gold will be protected with varnish, to procure 
"gold size" ready prepared — English gold 
size being the best. If not to be had, you can 
make a substitute by using English varnish 
and Japan in equal parts. If the gilding 
is for striping, you should mix a little chrome 
yellow . with it, to be able to see the lines 
better ; but in lettering no coloring is re- 
quired. Havrfig your job rubbed down 
smoothly, take a piece of muslin and tie up in 
it a little whitening to form a "pounce bag f 
with this you pounce or dust over every part 
of the work where the gold leaf is to be put, 
to prevent the leaf from sticking to the 



60 The Painters' Manual. 



surface not covered by the size. Another 
method is to wash the job over with starch 
water ; while still another plan is — where dust 
or starch is not apiolicable on account of 
newly varnished work near by, — to cut a 
potato in half, and with the raw surface rub 
the place desired, leaving the juice of the 
potato on; this soon dries and forms a thin film, 
to which the gold will not adhere. Any one of 
the above methods will be found to answer 
the purpose, and the coating will wash off 
clean when the gilding is dry. The surface 
prepared, take the size and put on the stripes, 
ornaments, or whatnot, and allow it to diy just 
enough to enable you to pass your finger over 
it without it sticking ; but if when the finger 
is placed directly upon it, it is " tacky," it is 
ready to receive the gold. 

For signs, or work which is not to be 
covered with varnish, we should use oil size, 
which is made with old boiled oil. The best 
is that taken from a paint cup in which the 



The Painters^ Manual. 61 



paint has settled and left the oil on top. 
Pour this off carefully and grind into it a little 
chrome yellow. 



TO LAY GOLD LEAF. 

If for scrolls, letters, or large work, take the 
book of gold leaf in the left hand, and with 
the forefinger of the right hand lift the first 
paper leaf, leaving the gold on the opposite 
leaf smooth ; then holding the book close to 
the work, with the front pointed downward 
toward the bottom of the letters or scroll and 
lightly touch it, rolling the book up and 
leaving the gold on the letters. Repeat this 
operation until all the size is covered. Touch 
any missed spot "svith the finger tipped vrith 
the superfluous gold, and wipe all off nicely 
with a bunch of cotton. 

For striping it is better to use a 'Hip," 
(which can be found at any supply store). 
Place the book on a piece of board covered 



62 The Painters' Manual. 



mth clotli, and raising the paper, cut the 
leaf the desired size with a table-knife, the 
edge of which is j)erfectly straight and smooth. 
Then draw the tip across your face or head, to 
slightly grease it, and lay it on the cut gold ; 
you can then lift and carry it to the size. Thus 
you can proceed until the striping is com- 
pleted. Some painters cut the book of gold 
leaf in strips, and lay the leaf directly from the 
strips : practice with either method, and you 
will find it easy enough. 

Gold may be shaded with transparent colors, 
such as asphaltum, ultramarine, lake, car- 
mine, verdigris, Paris green, etc., to suit the 
taste of the painter. 



BRONZING. 

Gold Bronze i^ used on carriage parts 
for striping ; and many fine fancy jobs can be 
done with this powder. 



The Painters' Manual. 63 



The size used for bronze is the same as that 
described for gold leaf. 

To put on the bronze, — take a piece of 
plush or velvet, and make a small "pounce" 
bag, by tying up a ball of cotton. This will 
take up the bronze, which is gently rubbed 
over the size. The best quality of bronze 
is but little inferior to gold leaf, and for 
striping is better, as it does not consume 
so much time, and at the same time it is 
cheaper than gold leaf. To make fancy work 
with bronze, cut out any desired pattern 
in paper, and laying it over a nearly dry 
varnished surface, rub the bronze on through 
the holes of the pattern. The fronts of the 
spokes and the ribs of express wagons may be 
nicely ornamented in this manner. 

Copper and silver bronze can also be used 
in this way, and when the three are mixed up 
in ornaments they look well. 



64 The Painters' Manual, 



TO PAINT A BUSINESS WAGON. 

In painting a business wagon we do not in 
all cases rough-stuff the bodies, as it would be 
too expensive and troublesome ; therefore we 
must get up the surface with lead and sand- 
paper. We use the same j)aint as used on 
carriages, sandpapering, puttying, etc., between 
each coat. Facing lead will be found excellent 
for the last coat of lead, as it cuts smoothly 
und easily with No. 1| sandpaper. 

The colors of business wagons are generally 
decided by the owner, but I will add hereto a 
few of the colors w^hich look well together. 

No. 1. 

Body. — Chrome green : frame or ribs, black, 
striped with white or cream color. 

KuxNiiv^a Geae. — Cream color, striped with 
red, blue or dark green or black, and red fine 
line. 



The Painters^ Manual. 65 



No. 2. 



Body. — Yellow : frame black, striped with 
white or blue. 

EuNNiNa Geak. — Light vermilion^ striped 
with black and white. 

No. 3. 
Body. — Carmine glaze over Indian red. 
EuNNiNG Gear. — Vermilion. 

No. 4. 
Body. — Deep vermilion. 

EuNNiNa Gear. — Light vermilion. 



SLEIGHS, 



There is so much variety in the styles and 
colors of this class of work, that I dare not say 
much in regard to it. The foundation is the 
same as for buggies. Glazed colors are the 
most frequently used. Ornamental work, 



66 The Painters' Manual. 



such as scrolls, birds, vines and flowers, are 
in good taste, and if v.ell done, add to the 
price. Gold striping worked up with fine 
lines of colors are in great demand — and it 
seems almost impossible to get on too much 
fancy work. The sleigh is presumed to form 
a part and parcel of the joy and mirth of 
a sleigh-ride. The following lines being apro- 
pos here, I venture to add them : 

*'The snow, the snow, tlie fleecy snow, 
And the bells so full of glee, 
Bring out the bay and the dapple gray, 
And a sleighing go with me. 

For it's jingle, jingle, jing ; 
Let the sleigh-bells ring. 

** As swiftly we glide along ; 
Our hearts keep time 
To the merry chime, 
While our voices swell the song." 



The Painters' Manual, 



67 



TO REMOVE OLD PAINT. 

There are various metliods employed for 
removing old paint, and I will endeavor to 
describe them. First there is the hot-iron 
process. This is done by taking a heavy 
piece of iron and heating it in a stove or forge, 
and then holding it close to the work. The 
paint will blister or soften, and can be scraped 
off with a putty knife or chisel. A better 
plan is the furnace process. The furnace is 
made of sheet-iron and heavy wire ; its gen- 
eral form is shown in the accompanying en- 
graving. 




The triangular shape allows it to be held 
closely to the work on cither side. Being 



68 The Painters^ Manual. 



filled with ignited charcoal, and a good fii-e 
kept up bj holding it in a draft, frequently, 
one can with this "burn off" a body very 
quickly and well. 

There is also a patent lamp used for the 
purpose. I have used one, and found it an 
excellent tool. It is designed to burn alcohol, 
and makes at the same time alcoholic gas, 
which is directed upon the flame by a pipe, 
while the flame is blown out in a long tongue 
of fire. This lamp is self-acting, and the work- 
man merely holds the lamp in his left-hand, 
directing the tongue of fiame upon the de- 
sired spot, scraping the paint off as he goes 
along with the right hand. 

Still another process is the potash plan. 
Dissolve one pound of potash in three pints of 
water over the fire, then add yellow ochre or 
some common dry paint until it is as thick as 
rough stuff. Smear this over the panel with 
an old brush, and in a little while you can 
scrape off the paint like old cheese. Some 



The Painters^ Manual. 69 



years ago I was induced to use a preparation 
(Ostrander's) to take tlie place of potash — but 
it was a failure. After the paint is taken 
off by tlie potash process, wash the w^ood well 
with soap and water to remove any residual 
potash, dry off and sandpaper, and then give 
a coat of clean raw oil. 

"With the furnace or hot iron process, sand- 
paper smoothly and apply a coat of the usual 
priming, and proceed as if on new work. 




Carriage parts must be scraped, and for 
this purpose I use a tool, as shoT^Ti in the 
engraving. It is made of steel (an old file 
for instance), the square centre part being 
ground, and the four square edges are excel- 
lent to scrape the spokes, while the ends will 
be found useful on the carriage part. It is 
only where an extra job is wanted that it will 
be necessary to scrape off the caniage jDart, 



70 The Painters' Manual. 



for we can generally fill them up with lead and 
get a good substantial surface. 



RE-VARNISHING. 

Old jobs should be rubbed well with pumice 
stone and water, the bare wood being covered 
with lead color (No. 1). All spots not hare 
can be touched up with dead color ; then put 
on a coat of rubbing varnish. If there be spots 
yet not colored properly, they can be fixed for 
the next or finishing coat. It is generally the 
cheapest plan to color the carriage part over 
and stripe anew, as it is a long, tedious job to 
touch it up, and never looks well. 



AN EASY WAY TO CLEAN THE MiLL. 

"When the paint is all out of the mill, it is 
best to clean the same, before the grinding 
surfaces become gummed up with dried color. 
The easiest way is to have a box of sawdust. 



The Painters' Mancjal. 71 



in which the parts of the mill may be placed 
and rubbed clean. 



TO BIND A BRUSH. 

BRUSHES, -when new, should be bound at least 
one-third the length of the hair, to preserve 
them and render them better for use. Some 
loainters bind a strong cord round and round 
to the proper distance, and secure each end to 
the handle. 

But a better way is, to take a piece of 
strong muslin and wrap one thickness around 
the hair, then tie a cord firmly around the 
same as low as you desire the binding to come: 
then fold the muslin back toward the handle, 
and fasten it by tacking the margin around 
che border of the origmal binding. 

This method makes a very neat binding 
especially for varnish brushes. 



72 The Painters' Manual. 



BLEACHING OIL. 

Pour about as much linseed oil into a shal- 
low earthen vessel as will stand one inch 
in depth ; then pour in six inches of water, 
cover with a fine cloth, and let the whole stand 
in the sun for a few weeks until the liquid 
becomes thick, when it should be poured 
in a phial and submitted to a gentle heat, 
after which the clear is to be poured off and 
strained through a flannel cloth. 



ABOUT OILS. 

The longer oil is kept, it is always the 
better both in regard to its drying and tran- 
sparent qualities. To make good nut oil, the 
skins of ripe walnuts should be peeled off, 
as it contains an acid whicli turns it brown. 
Poppy oil is made from the ripe seed of 
poppies. It is the best drying oil. The oil of 
spike, or lavender, is ol)tained by distilling 



The Painters' Manual. 73 



spike with water ; it is yeiy volatile and fine 
for working vdih the pencil,, or for enamelling. 
To make a fiiie drying oil for extra fine paint- 
ing, take of poppy oil or nut oil one pint, 
of gum sandarac two ounces, of white vitriol 
and sugar of lead^ each one ounce. Boil the 
whole till the solid ingredients are dissolved, 
and the mixture is the color of linseed oil. 

This oil will dry fast, and a portion of pliro 
turpentine added makes a fine oil for use 
where the purest white tint is required. It 
may be mixed with other oils as a diying, 
where common drying oil woidd be injurious 
to the color. 

Eaw lioseed oil for carriage work is best, as 
being more volatile than boiled oil, it strikes 
into the wood, and forms a hard, resinous 
fiUinof. 



TO TRANSFER A PICTURE. 

Pictures are frequently transferred to 
painted surfaces or wood, and may be seen on 



74 The Painters' Manual. 



stages, fancy boxes, etc. To transfer a picture, 
prepare a white ground well rubbed down 
with pumice stone and water. Then apply a 
thin coat of very light-colored varnish. (Eng- 
lish hard drying is good.) When this is not 
quite dry — ^" tacky," like gold size — dampen 
the picture on the back with clean water, and 
lay it between some newspapers to remove any 
water that might be on the face of the picture ; 
then lay rt carefully on the varnished surface, 
pressing it down with a damp cloth, or the 
finger, until there are no bubbles or air under- 
neath ; if there should be bubbles not easily 
pressed out, prick them with a pin to let the 
air escape. Then stand the work aside to dry, 
•and when hard, dampen the paper, and it can 
be rolled oflf by the finger in small rolls, until 
the picture is left quite perfect on the paint. 
A-fter fhis has dried well, a coat of clear liGfht 
varnish wrill finish the operation. The same 
process is used to transfer pictures to glass, 
and when colored on the back they look 



The Painters' Manual. 75 



beautifully. Almost any one can do this kind 
of ornamentation nicely. Try it on a small 
scale. 

Another method is to use Grecian varnish — 
Canada balsam and turpentine — but Copal 
varnish is better where you desire durability ; 
and, besides, every carriage painter has the 
material always at hand. 



VARNISH FOR MAPS AND PICTURES. 

A GOOD varnish for maps and pictures is 
made of Canada balsam and rectified oil of 
turpentine in equal parts, mixed. Set the bottle 
containing the mixture in warm water and 
agitate until the solution is perfect ; then set 
in a warm place a week to settle, and when 
settled pour off the clear varnish for use. 



76 The Painters^ Manual. 



ANOTHER, 

Take two ounces of gum mastic and one 
ounce of gum sandarac, reduce them to a 
powder, then put them in a flask or bottle and 
add a pint of alcohol ; shake the whole 
together till the gums have dissolved, strain 
the solution through a fine flannel, and put 
it in a clean bottle, corked tight, till w^anted 
for use. This varnish will dry in one minute, 
and on fancy boxes, pictures, etc., will form 
a good water-proof coating. 



TO PRESERVE PENCIL DRAWINGS. 

"Wash lead-pencil drawmgs, such as patterns, 
etc., wdth gun cotton in ether, (collodion,) 
and you will firmly fix them so that rubber 
will not rub them out. 



TO COPY AN ORNAMENT FROM PAPER. 

Place the paper containing the ornament 
against a window pane, and then laying a sheet 



The Painters* Manual. 77 



of thin paper over it you can copy it exactly 
with a lead pencil. 



COPYING PAPER. 

Mix six parts by weight of turpentine, one 
part of rosin, and one part of boiled nut oil, 
and apply to the paper with a sponge. A 
small quantity of plumbago (black lead) added 
to the mixture makes a very good paper to 
lay under an ornament which you wish to 
transfer. 



TRACING PAPER. 

Take thin tissue paper and apply a coat of 
varnish, and when dry you can trace any 
ornament you wish with a pencil upon it. 
When an ornament has been traced upon this 
paper, rub over the back some dry color, 
and then by laying it on the place you desire 
to paint, you can follow the lines with a pencil, 
and you will find the counterpart on the 



*J8 The Painters' Manual. 



panel ; then liglitly scratch these lines v/ith 
pin, and wipe off the dry color. 



TO PRESERVE ORNAMENTS. 

Ornaments on work to be repainted may bo 
saved, if the paint is not to be burnt off, by 
taking a little glue and whiting, while warm, 
and applying a thin coat with an ornamenting 
pencil. This will soon dry, when another 
coat should be put on, and you can then paint 
over the ornament, being careful not to touch 
the spot with sandpaper or pumice stone and 
water until the job is ready to rub down 
in coloring varnish, when the glue can be 
soaked off clean. There will be found a 
slight depression from the surface, but this 
can be remedied by giving the ornament 
a thick coat of rubbing varnish with the 
pencil ; and when the succeeding coats of 
varnish are rubbed down it will be found 
level. 



The Painters' Manual. 79 



LETTERING, 



There is a vast difference between the 
lettering of wagons and that of signs ; there- 
fore it becomes my duty to lay before the 
readers of this book the peculiarities attending 
this beautiful and useful art. 

The principle aimed at in wagon lettering 
is plain, or ornamentally arranged letters, 
which may be seen and easily read while the 
wagon is in motion ; while signs are expected 
to be read while the reader is moving. A 
solid bodied letter therefore is necessary for 
wagon work, as that can be seen and read at a 
greater distance than a Roman letter, or 
one having fine lines. 

There are several varieties of letters used in 
wagon lettering, but the principal styles, and 
those most frequently used, will be shown in 
these pages. There is a difference in outline 
from printers' type, and consequently it is not 
always best to follow after or copy print, when 



80 



The Painters' Manual, 



making letters. The names of tlie principal 
styles of letters are : 

Octagon Full Block, Eound Full Block, 
Octagon Half Block, Round Half Block, 
Antique Block, Eoman, Italic, Italian Back 




CJ 



The Painters' Manual, 



81 



slope, Front slope, Capitals and Lower-case 
The latter names are taken from the printers, 
and mean the capitals or large letters, and 
the lower case, or the small ones of same style. 




The first style shown is Octagon Full Block, 
which is a beautiful letter on almost any kind 
of work, and it can be greatly extended if 
desired to fill a certain space. When shaded 
nicely this style presents a bold front, and can 
be read distinctly at a considerable distance. 
The letter S shown on page 82 represents a 
Uoch shade, which may be executed very easily 
by glazing the dark shade ; as, for instance, 



82 



The Painters' Manual. 



the letter having been shaded with vermil- 
ion, the dark shaded part is glazed with car- 




mine, and the light part left vermilion. 
Another very good way by which you can 
make three shades, or what is termed " Double 
shade blocked" is to shade the letter with 
light blue, block shade with medium blue, 
and then double shade with ultramarine blue. 
The next letter in order is the Eound fall 
block ; these are similar to the Octagon, with 
the exception that the corners are rounded. 



The Painters^ Manual. 83 




OCTAGON HAIiF BLOCK. 

This is a very easy letter to draw and paint, 
and when shaded nicely, has a very neat appear- 
ance. It may be condensed or extended to 
suit the taste of the letterer, and where speed 
is desired in lettering, this style will be found 



84 The Painters' Manual. 



to answer well. I show three styles of shade- 



ing herewith. 




SINGLE SHADE. 




DOUBLE SHADE. 



The Painters' Manual. 



85 




BLOCK SHADE. 

This style of letter, when in gold, and '^ edged 
all around " — as hereafter described, — will be 
found excellent for the fronts of trucks, panels 
of express wagons, and as a feature of variety 
on top-sides. 

Such letters may be ornamented when 
desired, as shown in the engraving, the letter 
being made with a light color, say, light blue, 
and then the dark blue put on, as already 
mentioned. This makes a splendid line of 
letters, and is very fashionable. 

The style of letters used is generally decided 



86 The Painters' Manual, 




by the length of space, and the number of 
letters desired in that space. No two lines of 
the same style should be placed together, 
if possible to prevent it, but an alternate use 
of one style will not look out of place, if 
a difference be made in shading. Sometimes 
it is necessary to use a certain style of letter, 
even if that style has to be condensed or 
extended to fill the space ; but this must 
be determined by the workman, and experience 
will teach the requisite good taste. 

To lay out a line of letters, decide upon the 
size, then draw a line for the top and another 
for the bottom ; then with a pair of dividers 



The Painters' Manual. 87 



set to a chosen size, run over the length 
of space to see if you will have room enough 
to put in the desired number of letters ; if not, 
set the dividers again and measure the space 
again. Bear in mind that the space between 
letters is not always the same, for where such 
letters as A. F. J. L. T. V. W. Y. are used, the 
space between them and the other letters 
is but one-half that which is left between 
letters like H. D. B., etc. An L. placed next 
to a v., with the same space as given to H. B., 
would look very badly, owing to the open 
character of the L. The letter I. should have 
considerable space, that it be not confused 
with the other letters. The arrangement of 
letters can be well studied by paying close 
attention to the work of some good letterer ; 
and as it is a difficult task to describe fully 
the " laying out " without numerous diagrams, 
I will " rest here,** on that point, as a lawyer 
would say. 
The Antique block letter will be found 



88 



The Painters' Manual. 



very useful as well as the Italian, botii of 
which are used extensively on milk-wagons in 
our city. 




ANTIQUE BLOCK LETTEB. 

"Wagon lettering is invariably shaded on the 
right side, a rule w^hich custom has created 
among first-class wagon letterers, leaving sign 
work to be shaded on the left side, as you will 
notice is more frequently done. 

Gold lettering on any ground color should 
always be shaded and "edged," the latter 



The Painters^ Manual. 



89 



g 



ITALIAN BLOCK LETTER. 



being a fine white or cream-colored line on 
the edge of the letter, opposite the shade ; or 
it may be- put all around the letter and still 
be in good taste. Gold letters on a red 
ground are generally shaded with black and 
double shaded with carmine or asphaltum. 
edged with white. Gold on a white ground 
is edged with black. 



90 The Painters' Manual, 



SCROLLS. 



This work requires the good taste and 
perfect outline of a drauglitsman. But an 
insight into this art may be gained by copying 
the work of others, by processes described in 
this book. 

When a copy has been made on the copy- 
ing paper, take a piece of stout wrapping- 
paper, and laying it on a smooth board, place 
the copy over it, and fasten all down to the 
board with a few tacks or pins ; then with a pin 
prick the outlines with small holes through 
the copy and wrapping-paper. Having done 
this, lift all from the board, and by placing the 
wrapping-paper copy on the panel, and dusting 
on fine whiting with a pounce-bag, you will 
transfer the copy to the panel. Next proceed 
to fill in the outlines with gold size ; lay on 
the gold, and then clean all off nicely for 
shading. 

This is done with asphaltum, but a veiy 



The Painters' Manual. 91 



fine effect can be made by glazing some parts 
with carmine or blue. Copy the shading 
of the original as near as possible ; put in the 
Hghts or white fine lines, and with a little 
practice and the use of pattern, you will soon 
gain a Imowledge of scrolling sufficient to 
enable you to perform ordinary work. 

Scrolling in colors can be learned in the 
same way, but it is a more difficult art, as it 
requkes good taste in the application of 
colors — harmony of colors being the greatest 
desideratum in good scrolling. 



STENCILING. 

Stencilinq is an art by which the painter 
can execute ornamental work quickly, and 
when thoroughly understood it will often be 
called into requisition in the wagon paint 
shop. 

The articles required in making a stencil, 



92 



The Painters' Manual. 



are a sheet of well-sized writLng paper, a 
lead pencil, and a sharp penknife. 

Fold the paper, allowing the edge of the 








^A^* 



The Painters' Manual. 93 



fold to form tlie centre of the pattern ; then 
draw any design you wish, leaving bars 
to hold the parts together, as seen in the 
engraving herewith ; then lay the paper upon 
a piece of glass and cut out the figures with the 
penknife. 

Fac simile copies of these engravings may 
be made by copying, (as already described,) 
and they will be found useful on the panels, 
springs, bars and spokes of a wagon. Figs. 1 
and 2 are illustrations of neat and simple 
patterns in stenciling, and such as may be 
used for the ends of small panels, or parts of 
the figures on springs, etc. 

The tool used for this work is a camels'-hair 

brush or pencil, with hair not over one-half an 

inch long, bound with quill and wire on a 

roimd wooden handle. Price at supply stores, 

rates from 25 cents to $1.00. The small sizes 

are preferable. 

The color may be mixed in Japan and 

turpentine, as for striping, but color mixed 



94 The Painters^ Manual. 



with vinegar and sugar will be found best. 
The paint must be quite thick, and a small 
quantity only must be taken oil the brush, 
and then well rubbed out on a dry place 
before applying it to the work. 

Laying the stencil on the panel as desired, 
hold it down firmly, and rub over with the 
brush carefully until the cut portions of the 
figure are well coated. Then lift off the stencil 
and the work is completed. 

Many of my readers may have noticed the 
beautiful work executed by fresco painters, and 
wondered how it was done so correctly ; and 
now with the ideas here shown, the ordinary 
painter may compete with that class of work- 
men in the ornamentation of his special line, 
combining beauty, economy and dispatch. 



The Painters' Manual 95 



TO TRANSFER ORNAMENTS FOR CARRIAGES, 
WAGONS, ETC. 

This beautiful art is now practiced by many 
painters, who are either in a hurry with their 
work, or for economy's sake. 

Pictures expressly designed for carriages 
are now sold at the leading periodical stores, 
and the amateur painter is enabled thereby to • 
finish a job of carriage painting in fine style. 

These pictures may be stuck on, and the 
dampened paper carefully removed, leaving 
the picture intact upon the panel, requiring 
no touching with the pencil. The proper 
way to put on decalcomine pictures is to 
varnish the picture carefully with the prepared 
varnish (which can be obtained with the 
pictures,) with an ornamenting pencil, being 
sure not to get the varnish on the white 
paper. In a few minutes the picture will be 
ready to lay on the panel, and the paper can 
be removed by wetting it, as already described ; 



96 The Painters^ Manual, 



and when thoroughly ch-y it should be var- 
nished hke an oil painting. Be particular to 
purchase none of these transfer pictures, except 
those covered vvith gold leaf on the back, for 
they will show plainly on any colored surface, 
while the plain pictures are used only on white 
or light grounds. They may be procui^ed at 
any stationery store, and the cost is trifling. 



STAINING WOOD. 

Take nitric acid and dilute with ten parts 
water, wash the wood with it, and a mahogany 
color will be obtained. 

To produce a rosewood finish, glaze the 
same with carmine or Munich lake. 

Asphaltum, thinned with tui'pentine, is 
another excellent mahogany color, on new 
wood. 



APPENDIX. 



The following pages I will devote to items 
of interest, and should there be anything left 
" out in the cold," I beg the reader's pardon. 



To keep striping pencils in good shape and 
ever ready for use, grease them with tallow 
from a candle, and spread the hair straight on 
apiece of glass, keeping the same in a box 
made for the purpose, so that they may be 
preserved from dust. 

Why do striping pencils curl up or '' crinkle " 
when used in white (keg-lead) color? Because 
the acid with which the lead is made acts on 
the hau% heatmg and contracting ihe fibre. 
To straighten them when thus crooked, I 



98 The Painters' Manual. 



draw tlie pencil across or between a warm 
iron and the finger. Dry white lead mixed in 
Tarnish and turpentine is preferable for strip- 
ing, but tube colors are best. 



When it is desirable to glaze a job with 
carmine, why do you advise the workman 
to get up a coloring varnish surface, while 
some painteA are in the habit of putting on 
glazing the same as if it were coloring varnisk? 
Because I have then a chance to rub the 
job smooth, which I could not do so well over 
the glazing. Besides, the glazing being mixed 
with flowing varnish, will flow level and free 
from clouds, if put on a smooth surface. 



PAPER CUPS FOR STRIPING COLORS. 

Although I do not recommend the use of 
paper cups for holding striping colors, I am 
aware that many prefer them, as they are 



The Painters^ MxVNUal. 99 



easily disposed of when no longer desired for 
use. 

The economical painter would have small 
tin cups to use for striping colors, as the 
paper cups cause a waste of sandpaper. 



BRONZE PAINT FOR IRON. 

Ivory black one ounce, chrome yellow one 
ounce, chrome green two pounds ; mix with 
raw linseed oil, adding a little Japan to dry 
it, and you have a very nice bronze green. 
If desired, gold bronze may be put on the 
prominent parts, as on the tips or edges of an 
iron railing, when the paint is not quite dry, 
using a piece of velvet or plush with which 
to rub on the bronze. 



TO BRONZE STATUARY. 

Plaster casts or castings may be bronzed as 
follows : Wash the plaster over with thin glue 



100 The Painters' Manual. 



or starch water. "When dry apply the bronze 
mixture above described, adding to it a 
little gold bronze powder, or some Dutch 
metal, powdered on the stone. 



TO PAINT MAGIC LANTERN SLIDES. 

Transparent colors only are used for this 
work, such as lakes, sap-green, ultramarine, 
verdigris, gamboge, asphaltum, etc., mixed in 
oil and tempered with Hght-colored varnish, 
(white Demar). 

Draw on paper the design desired, and 
stick it to the glass with water or gum ; then 
mth a fine pencil put the outlines on the 
opposite side of the glass with the proper 
colors ; then fill up and shade with black 
or Vandyke brown, as you find best. 



YARNISH FOR VIOLINS. 

Heat together at a low temperature two 
quarts of alcohol, half a pint of turpentine- 



The Painters^ Manual. 101 



Tarnish, and one pound of clean gum mastic. 
When the latter is thoroughly dissolved, 
strain through a fine cloth. 



ANOTHER. 

Dissolve gum-shellac in alcohol by a gentle 
heat, and strain for use. This varnish will 
dry in a few minutes, and is best on account 
of there being no oil in its composition, oil 
being detrimental to musical instruments like 
the violin. 



ANOTHER. 
Gum mastic dissolved in spirits of wine. 



TO STAIN VIOLINS. 

Take one pound of Brazil wood and boil it 
in a half-gallon of water, an hour; sti^ain 
the liquor and add one half an ounce of 



102 The Painters' Manual. 



cochineal ; boil again gently, and it will be 
ready for use. This will produce a crimson tint. 
If you wish it darker, boil a small quantity of 
saffron in a quart of water, and apply it before 
putting on the crimson stain. If you desire 
a purple color, boil one pound of logwood in 
three quarts of water, then add four ounces of 
pearlash and two ounces of powdered indigo. 



LETTERING ON GLASS. 

Sign painting on glass is one of the beauti- 
ful branches of our art, and as there are but 
few who can make a good job, I will endeavor 
to explain the method which has always been 
found to answer the purpose admirably. 

The glass should first be thoroughly cleaned 
and dried, then lay out the lines for the letters 
with soap, a piece of hard scented soap being 
best, then proceed to paint the letters on the 
right side of the glass ^Yith lampblack mixed 
with oil — this is to form a guide for the work ; 



ri^ 



The Painters' Manual. 103 



then on the inside, lay on a thin coat of size — 
made Avith the white of an egg and water; or 
isinglass dissolved in water — with a camels'- 
hair l)rush, covering over the whole line of 
letters. Then lay on the gold leaf with a tip, 
until every part of the letters is covered well. 
Allow the leaf to remain until the size is dry, 
and you will find that the letters on the front 
side can be easily seen and traced. This is 
done with quick drying black, to which is 
added a little varnish. Paint over every part 
of the letter directly on the gold and allow it 
to dry; then wipe off with soap and water 
the lampblack letters from the front side, and 
with clean cold water and a soft sponge, wash 
the superfluous gold leaf and size from the 
back, and you will have a perfect gold letter 
on the glass. 

Proceed now to shade the letters, which 
may be done in colors to suit the taste of the 
painter. Always shade to the edge of the 
gold, for by that means you have only one 



104 The Painters^ Manual. 



edge to make straight. The shade may be left 
rough on its extreme edge, and when dry 
a neat straight edge can be obtained by 
merely scraping with a knife. 



ORNAMENTAL DESIGNS ON GLASS. 

In making scrolls, eagles, etc., on glass, 
some i)ainters put on the outlines and shades 
first, and then lay the gold leaf over all. 
Another good way is to scratch the shades 
into the gold leaf af fcer it is dry, and put the 
colors on the back of the gold. 

Silver leaf may be used in the same manner 
as gold, but it will not wear as well. 

A very pretty letter may be made by 
incorporating silver with gold. 

Take paper and cut any fancy design to fit 
the parts of the letter, stick it on to the size 
before laying the leaf, and then lay the leaf, 
allowing it to dry, and wash off as before ; then 
with a penknife raise the paper figure, and 



The Painters^ Manual. 105 



the exact shape or form of the figure will be 
found cut out of the gold letter. Clean off 
nicely, apply more size, and lay silver leaf to 
cover the vacant spots. "Wash off when dry, 
and a very handsome ornamented letter will 
be the result. 

Colors may be used instead of silver, if de- 
sired, or a silver letter, edged or " cut up " with 
gold, will look well. 



PERMANENT WOOD FILLING. 

A PREPARATION designed to supercede the lead 
color filling of carriage bodies was some time 
ago put in the market and tried by almost 
every carriage-maker in the country ; but I 
have yet to learn of its efficacy, outside of the 
windy advertisements in its favor. I can point 
to several large cans which have been " weighed 
in the balance and found wanting," as far as 
usefulness is concerned, which are among the 
refuse of the paint shop. 



106 The Painters' Manual. 



TO IMITATE TORTOISE-SHELL. 

Paint a ground of salmon color ; thefn, wlioii 
dry and smoothed off, coat it over with rose- 
pink, mixed in varnish and turpentine ; then 
with a flat piece of glass press on the surface, 
and remove the glass quickly, being careful not 
to slip it over the paints so as to disturb the 
curious figures which the pressure will form 
thereon, after the paint has dried and been 
varnished, and you will find that you have 
made a very good imitation of the tortoise- 
shell. 



KEEPING ENGLISH VARNISH. 

I PREFER to keep English or finishing varnish 
cans covered with a piece of silk, which should 
be tied over the mouth of the can, instead of a 
tight cork ; for the reason, that extra var- 
nishes work better, and are not so apt to 
'' crawl " or " pit,'' if allowed to be in a can 
from which the gases may escape. This plan 



The Painters' Manual. 107 



is only used on cans that are in frequent use; 
for if air be allowed to get to the varnish for 
any great length of time, it will thicken the 
varnish and injure it. Great care should al- 
Vv^ays be taken with varnish cans, for the least 
dust will be found to show itself, when a large 
panel is varnished, and many would be at a 
loss to accoimt for it. Look out for your 
cans! 



VARNISH BRUSHES. 

Thebe will be but seldom any occasion to 
wash out a varnish brush in turpentine, where 
care is taken to clean the work before applying 
the varnish. It is injurious to the brush to 
put it in turpentine, therefore we should en- 
deavor to use oil in cleaning out, rather than 
turpentine. The best way to clean a finishing 
brush, if by accident it becomes dirty, is to use 
it on a clean panel in rubbing varnish and oil, 



108 The Painters' Manual. 



wi2:)ing off tlie panel and repeating the operf 
tion until the brusli is clean. 



PAINTING ON CANVAS. 

Banner work, or painting on canvas and 
muslin, is a particular job, for the least mis- 
stroke vdll spoil the work. It is always best to 
lay out the letters very accurately with char- 
coal or crayon, and then saturate the cloth with 
water to render the painting easy. I find on 
large work that a stencil is very useful, I take 
a piece of tin, and laying the straight edge to 
the mark, brush over with a sash tool, and by 
that means make a very clean-edged letter. 
Stiff bristle pencils, called " fitches " by house- 
painters, are best for canvas work. 



OIL-CLOTH. 

When it is desired to paint canvas for flooi^s, 
the canvas should be saturated with glue water, 



The Painters' Manual. 109 



or flour paste, and allowed to dry first. Then 
paint it with any color desired. To put in the 
figures, cut out designs in stiff paper and ste»- 
cil them on, in various colors. 



TO IMITATE MARBLE. 

In painting to imitate white marble, get up 
a smooth white ground, as shown in previous 
pages. Then hold a lighted candle near the 
surface and allow the smoke to form the various 
shades and tints desired. This will make a 
very handsome imitation, and cannot be 
equalled with the pencil. 

Black marble is made by streaking a black 
surface with colors, using a feather and pencil. 
Another plan is to get up a smooth black sur- 
face, then take the colors, yellow, green, red, 
white, &c., ground thick in gold size, and 
'^streak" the surface with a stick or pencil. 
Allow it to dry, and apply a heavy coat of lamp- 
black and yellow' ochre, mixed like rough stuff. 



110 The Painters^ Manual. 



When all is hard, rub down to a level surface 
mth lump pumice-stone, varnish, and a beau- 
tiful variegated marble vidll be the result. 



OILING OR CLEANING OLD CARRIAGE 
TOPS. 

Enamel leather tops should be first v;'ashed 
with Castile soap and warm water, then oiled 
vdth neatsfoot oil, or sweet oil, and a coat of 
enamel varnish put on. The leather will look 
like new. 

Dashes may be cleaned in the same manner, 
but varnish color is not very beneficial to pa- 
tent leather. However, when very old and 
cracked, it may be colored to improve the ap- 
pearance. 



OLD SILVER PLAITING. 

Silvered work on carriages may be improved 
by the following mixture : 



The Painters' Manual. Ill 



Take one ounce of nitrate of silver, and dis- 
solve it in one quart of rain water. When 
thoroughly dissolved, throw in a few crystals 
of hyposulphite of soda, w^hich will form a 
brown precipitate, but which will be re-dis- 
solved if suflSycient hyposulphite has been em- 
ployed. A slight excess of this salt must be 
added. The solation thus formed may be 
rubbed over tlie parts to be silvered. 

A solution of gold, may be made in a simi- 
lar way. 
t/ 

This silvering solution is not like the com- 
mon silvering fluids w^hich evaporate in a few 
daj^s and leave the parts worse than before. 



VALUE OF THE SLUSH TUB. 

Tee '^ slush '' or scrapings of the cups in a 
paint shop are valuable, and should be saved. 
No better mixture can be had for leaky roofs. 
And if mixed with oil and run through the 



112 The Paixters^ Manual, 



mill, it mates excellent paint for floors or bot- 
toms of bodies. 



TRANSPARENT PAINTING ON MUSLIN WIN- 
DOW-SHADES. 

This art is extensively practiced in painting 
screens and window shades. The muslin is 
stretched on a frame and secured by tacks, 
then sized wdth a mixture of fine flour-paste, 
white glue, and white bar-soap ; the soap 
renders the muslin pUable and soft. A thin 
coat is applied, which is nearly invisible when 
dry. 

A coat of pure linseed oil, diluted with 
spirits of turpentine, is then applied to the 
whole, or a part, as desired, laying it on 
quickly and smoothly to ensure an even 
transparent surface. 

The colors used are, ivory black, ultra- 
marine, Paris green, verdigris, umber, sienna, 
asphaltum, and all other transparent colors. 



The Painters' Manual. 113 



An outline of the design is drawn with 
a small pencil with black or umber, after 
which the colors may be applied, more or 
less diluted, as more or less transparency 
is desired. In general, the brightest colors 
should be applied first and the darker shades 
over them. 

These colors must be laid evenly and 
smoothly v/ith soft brushes, and should anj^ 
part be made too dark, the best way is to 
scrape off with a stick before the color gets 
too dry. The best designs for shades consists 
of landscape views, and should always bo de- 
signed to accommodate the form and position 
of the ground on which they are drawn. 

Stencils will be found useful on this work, 
in making corners or stripes for borders. 



SMALTS. 



Smalts is a finely powdered glass, or other 
substance, v/ell known in supply stores, and 

8 



114 The Painters^ Manual. 



of various colors. It is used on signs princi- 
pally. The method of use is as follows. 

For a gold-lettered sign, lay out on a leac^ 
color or white surface the line of letters, ant 
roughly size the shape of each letter witt 
fat oil size. This must be allowed at least 
twelve hours to get tacky and ready for gild- 
ing. After the gold leaf is laid and perfectly 
dry, mix up (for blue smalts) Prussian blue 
and keg-lead with oil, adding a little dryer. 
Outline carefully around the letters, and 
fill up all the outside with the blue paint ; 
then with a small sieve siffc on the smalts — 
allowing the sign to lay horizontally. Cover 
every part with plenty of smalts, and allow it 
to remain in the same position until the paint 
is dry. Then carefully shake of the super- 
abundant smalts and the work is completed. 



The Painters' Manual. 115 



FLOCKINGS. 



A FINE powder from cloth is also used 
ill the same manner, and makes a beautiful 



sign. 



Blue or light colored smalts may be shaded 
upon with black color, using a stiff bristle 
pencil. 



PEARL INLAYING, OR PAPIER MACHIE. 

A VERY handsome effect is given to orna- 
mental work by inlaying. Prepare the job 
with a heavy coat of black Japan ; then before 
it is dry, procure some flakes of pearl at the 
supply store, then lay them on the black 
surface, pressing them also into the paint 
until they are level with the surface ; then, 
with colors, form vines and flowers, allowing 
the pearl to form the body of the flower 

leaf, and shade all up nicely. 



116 The Painters' Manual. 



LIST OF CARRIAGE MAKERS IN NEW 
YOriK CITY. 

To aid the painter, wlien in searcli of em- 
ployment, I add a list of carriage-makers, 
witli the firm conviction that my efforts in 
their behalf will be fully appreciated. 

Adams, Levi, 2293 Third Avenue. 

Ashe, Frank, 163 Crosby Street. 

Baldwin, T. E., 78G Broadway. 

Barton & Boyle, 6 Seventh Avenue. 

Bates, S. E., 1505 Broadway. 

Beardsley & Co., 110 W. Thirty-seventh. 

Becker, F., 207 Green. 

BeU, Arthur, 142 E. Forty-first. 

Benson, Bros., 155 E. Twenty-third. 

Brewster, J. B., & Co., 65 E. Twenty-fifth. 

Brewster & Co., 374 Broome. 

Brown & Goodwin, 1404 Broadway. 

Campbell & McPherson, 100 W. Thirty-third. 

Gary, George, 128 W. Forty-sixth. 

Corbett & Scharch, 126 W. Twenty-fifth. 



The Painters' Manual. 117 



Demarest & Woodruff, 628 Broadway. 
Dubois, A. J., 202 Greene. 
Dusenbury & Nelson, Jr., 98 Laurens. 
Engle, Henry, 114 Elizabeth. 
Flandrau, A. S., 18 E. Eighteenth. 
Flandrau, Wm., 280 Ninth Avenue. 
Gedney, E. M., 1413 Broadway. 
Geiger, L., 198 Henry. 
German, Philip, 180 Chrystie. 
Glueck, Marcus, 23 Third. 
Gray, W. H., 27 Wooster. 
Henry, "Wm., 158 E. Fifty-seyenth. 
Hicks, I. E., 32 Barclay. 
Jager, 255 W. Thirty-first. 
Johnson & Van Tassell, 58 Liberty. 
Lawrence, Jno. K, 558 Broadway. 
Lippe, Jos., 85 Crosby. 
Lockwood, Isaac, 2343 Third Avenue. 
Loos & Williams, 155 W, Nineteenth. 
McCready, Jas., 437 W. Thirty-fifth. 
Miller, Phil., 337 W, Fifty-second. 
Miner, Stevens & Co., 113 E. Thirteenth. 



118 The Painters' Manual. 



Mix, Eugene, 1402 Broadway. 

Mix, Isaac, 598 Broadway. 

Monk, Irvmg, 102 Laurens. 

Moore, Geo. J., 376 Bowery. 

Murphy, Edward, 225 Greene. 

Pitney, Jas. W., 460 Third Avenue. 

Pomeroy, Jos. H., Jr., 156 Twenty-seventh. 

Rose, W. H., 21 E. Twelfth. 

Smith, Edward, 28 E. Twenty-ninth. 

Smith, John I., 103 W. Fortieth. 

Smith, Jos. L., 28 E. Twenty-ninth. 

Stevenson, Thomas, 124 E. Thirty-second. 

Stevens, E. M., 148 E. Thirty-first. 

Sweeney, Edward, 237 E. Fortieth. 

Swift, Charles, & Son, 123 W. Thirtieth. 

Taylor, Josiah, 59 Cedai. 

Tilton, B. ^Y., 47 Broadway. 

Tuttle, John H., 205 Pearl. 

Voorhis, Jno. D., Broadway, cor. W. 58th. 

Waldron, J. Q., & Bro., 46 Beekman. 

Winans, W. H., 30 Clarke. 

Weiser, H., 77 Greene. 



rp 



The Painters^ Manual. 119 



Witty, Calvin, 168 Crosby. 

Wood, F. E., 221 W.- Nineteenth. 

Wood, Bros. & Co., 710 Broadway. 

Bach, F., 73 W. Thirty-third. 

Bauer, John, 31 Sullivan. 

Becker, Frederic, 207 Greene. 

Briling, Kobert, 123 Broome. 

Buyer, Edward, 75 First Avenue. 

Coe, Jonas L., 119 W. Twenty-eighth. 

Conover & Co., J. A., 130 Horatio. 

Denny, J. T., 551 Seventh Avenue. 

Fagin & Kirk, 608 E. Sixteenth. 

Fay & Bro., 513 W. Twenty-seventh. 

Fielding Bros., 203 E. Forty-first. 

Friedgen, MatLhev/, 403 W. Twenty-seventh. 

Gelshon, Thomas, 13 Downing. 

Haith and Becker, 205 E. Twenty-thhrd. 

Hayman, Louis, 210 E. Twenty-fourth. 

Hunt, W., 1558 Third Avenue. 

Jeremiah, G. A., 461 Tenth Avenue. 

Kettered, Philip, 90 Thompson. 

Kelly, John, 205 E. Twenty-fifth. 



120 The Painters^ Manual. 



Kennedy, E., 126 Seventh Avenue. 
KumiDf, Mieli., & Son, 308 E. Thirty-fifth. 
Monk & Green, 510 E. Twenty-fourth. 
Moore & Manee, 3 Macdougal. 
Prial, Edward, 18 Ninth Avenue. 
Eose, Walton, 164 W. Eighteenth. 
Schmidt, John, 43 Leonard. 
Sebastian & Saal, 768 Third Avenue. 
Trautman, P., 138 W. Twenty -ninth. 
Uhl, John, 505 W. Thirty-seventh. 
Van Zandt, J. L., 197 Wooster. 
Weimer & Mnhler, 31 Eidge. 
Westerfield, "WiUiam, 77 Prince. 
WnUams, James, 242 E. Fifty-sixth. 
Williams, W. H., 226 Spring. 
Wolframbe & EUereni, 749 Sixth. 
White, David, 243 E. Fifty-sixth. 
F. B. Gardner, Ornamental Painter, 339 E, 
Forty-eighth. 



The Painters' Manual. 121 



MANUFACTUREr^S AND DEALERS IN VAR- 
NISHES IN NEW YORK. 

William A. Andoe, 181 Pearl. 
Bell Brothers & Co., 159 Front. 
Brooks & Fitzgerald, West street, cor. Twenty- 
fifth. 
Carey & Philips, 427 E. Twenty-fifth. 
William Tilden Blodget, 252 Pearl. 
Thomas B. Brooks, 73 Gold. 
John Juhus & Co., 207 Pearl. 
J. D. Gilmore, 260 Pearl. 
M. W. Griswold & Co., 249 Pearl. 
William Harland & Son, 57 Cedar. 
Hotopp & Co., 462 Canal. 
F. S. LearnM, 142 Maiden Lane. 
Smith, Baldwin & Co., 110 John & 425 E.^5. 
Woodbury & Co., 129 Maiden Lane. 
John W. Masury, 111 Fulton. 
A. G. Mandel & Co., 179 WilHam. 
Henry Louis, 378 Pearl. 
A. H. Louis & Co., 143 Maiden Lane. 



122 The Painters' Manual, 



George L. Wood, 214 Pearl.. 
Edward Smith & Co., 161 William. 
Kissam & Gundaken, 221 Pearl. 
Valentine & Co., 88 Chamber. 



WAGES, 



To enable the workman to find the amount 
due him for work from one hour up to six days, 
I append the following tabular statement. 

METHOD OF USING THE TABLE. 

Place a finger of the left hand on the price 
per day, say $3.00, and a finger of the right 
hand, say 5 days. Then moving tlie right hand 
down and the left hand to the right, we strike 
the angle, and on that space we find $15.00 the 
exact amount for 5 days. If the amount be 
required for 4 hours extra time, at the same 
rate of wages, we examine the columns in the 



The Painters^ Manual. 123 



table headed " Amount of AVages per hour/* 
and find at the angle §1.20 — which added to 
the 5 days wages make $16.20. This is a very 
easy method, when once understood. 



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INDEX 



PAGE 

The Tools Used 7 

Brushes 8 

Varnish Brushes 11 

Fitch-hair Brushes ... 13 

Striping Pencils 15 

To make Flat Pencils. 15 

Ox-hair Pencils 16 

Ornamenting Pencils. 17 

Lettering Pencils. ... 17 

Drawing Pen 18 

Palettes 19 

Tube Colors 20 

Ordinary Colors 22 

Primary Colors 23 

Grinding Black . . 24 

Vermilion . 26 

Prepared Colors 27 . 

Combination of Colors 28 

Carriage Painting .... 30 



PAGB 

Foundation Coats 30 

Bough Stuff 32 

Priming 34 

Putty 35 

Eubbing 36 

Facing Lead 37 

Coloring Carriage Part 38 

Coloring Body 39 

Varnishing 41 

Varnishes 44 

Polishing 48 

Painting Coaches, &c. 49 

Carmine 51 

Glazing 52 

Striping 53 

Scotch Plaid Work. . . 54 

Ornamenting 55 

Monograms 56, 58 

Gilding 59 



126 



Index. 



PAGE 

Laying Gold Lead. . . Gl 

Bronzing. . .r 62 

Painting Business 

Wagon 6i 

Sleighs 65 

Bemoving Old Paint. 67 

Be-varnisliing 70 

The Mill 70 

Binding Brushes 71 

Oils 72 

Bleaching Oil 72 

To Copy an Ornament 76 

Varnish for Pictures.. 75 

Paper for Tracing 77 

Copying Paper 77 



PAGB 

Preserving Ornaments 78 

Lettering 79 

ScroUmg 90 

Stenciling 91 

Transferring 95 

Staining 96 

Appendix 97 

Keceipts, etc 99 

List of Carriage Ma- 
kers in New York . . 116 

Manufacturers and 
Dealers in Varnish 

in New York 121 

Beady Beckoner 124 



VAIillflll 



mm 






NE"\Ar YORK. 



VARNISH 




TRANSFER ORNAMENTS. 

CHARLES PALM & CO., 

118 MAIN STBEET, CINCINNATI, O. 

Is the only firm who keep constantly on hand a yery 
large assortment of Ornaments (all Original Designs), foV 
Coaches, Carriages, Buggies, Sleighs, Cutters, Spring 
Wagons, etc. 

FOE EVERY STYLE OF WORE, 

Borders, Spoke Facings, Gearing Scrolls in Gold and 
Colors, Plaid Work, etc. They also keep a large assort- 
ment suitable for Safes, Furniture, Melodeons, Drums, etc., 
and everything in the ornamental line to suit the wants of 
our Customers. 

THE LATEST DESIGNS 

Of the best Ornamental Painters of America and Europe, 
are published regularly, executed in the highest style of 
Art. They are in constant use in over 5,000 Sliops, 
and give satisfaction in every instance. To guard our Cus- 
tomers against worthless imitations we have affixed our 



TRADE m^S^^m^ 3IA]iK, 



On all our sheets, none genuine without it. 

Sample Books of Carriage, Buggy and Sleigh Ornaments, 
containing over 200 Designs, with one colored plate, sent 
by mail on receipt of 50 cents. Respectfully, 

CHARLES PAIiin & CO. 



SMITH, BALDWIN & CO., 

Manufacturers of all kinds of 

Coacli Vernishes k Japans, 

Tactory 406 East 26tli St., near 1st Are. 

OHice, 1 1 •JOHIN" ^XI^EET, 

Bet. Pearl & Cliff Sts., New York. 



We respectfully call the attention of Carriage Makers to on? 

RUBBIN(J COLORING, 



OR 



BLACK RUBBING VAENISH. 

Eubbing Colorino^ Varnish is the best Rubbini? Body Varnish, 
made black with the best EnglUli Drop Black ; is used for first 
and second coats on Bodies and Carriages ; produces a good black, 
■works jree, jiows level, and i^ fi^ee frora g7i,t. 

Knowing the difficulty of grinding the Patent Black sufficiently 
fine, we have adopted a method of dissolving the Black and boil- 
jn(? it in the Varnish, which renders it free from grit, drying 
with a rich brill iancj% hard enough to rub in twenty-four hours 
without sweating, and flovv'ing free from brush marks (which 
saves time in rubbing). Its several other advantages are Dura- 
bility, Brilliancy, Cheapness and Labor Saving. 

OTHER COACH VARNISHES. 

BODY FIWISHINa, Imitation English, 
" ^' Medium Drying-. 

'' Hard " 

FINISHING, for Light Colors, 
CARBIAGE FINISHING, BODY RTJBBINa, 
BUBBING COLORING, CARRIAGE RUBBING, 
IMITATION ENGLISH BLACK JAPAN, 
GOLD SIZE JAPAN, BROWN JAPAN DRYER, 
ENAMEL LEATHER. 



COACH-MAKERS' 

t f 

PUBLISHED MONTHLY. 

Containing Plates of the Latest Styles of 
Light and Heavy Carriages. 

Prices Current of Carriage Materials 
Corrected Monthly. 

TERMS: 

$3 PER YEAR, IN ADVANCE. 
SINGLE COPIES, 35 CENTS. 

I. D. WARE, Publisher, 

r. O. Box, 2709, rhila. 

Office, No. 411 CHESTNUT STREET. 



SUBSCRIBE 




|j0ntlil| Hagame 

DEVOTED TO 

Carriage Building. 

« 

Address, 88 CHAMBERS St.,N.T. 

This is now the most elegant and the most eminently practical 
magazine of the kind ever published, and is profusely illustrated 
in every branch. It includes the following departments : 

1. ''Wood-shop." 

2. "Smith-shop." 

3. "Paint-shop." 

4. ''Trimming-shop." 

5. " Office," including the Repository. 

6. " Correspondence," including Home and Foreign Corres- 
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7. " Trade News." 

Edited by GEO. IF. W. HOUGHTON. 

EiiUished by VALENTINES Co. 

o 

SUBSCRIPTION .PRICE: 

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NEV/ PHYSIOGNOMY, 

OR 

''SICNS OF CHARACTER," 

As Manifested in Temperament and External 
Forms especially in " the Human Face Divine." 



A comj reliensive and practical work, in which Physi- 
ognomy, based on Ethnology and Phrenology, is syste- 
matised, explained, illustrated, and applied to character 
reading. The following are some of the topics discussed. 



Previous Systems, 

including those of ancient 
and modern writers given. 

General Principles 

of Physiognomy, or the Phy- 
iiological laws on which 
character reading is based. 

Temp eramcnts.— 

Ancient Doctrines ; New 
Classification now in use. 

Practical Physiog- 

NOMY. — General Forms of 
Faces— Eyes, Mouth, Nose, 
Chin. Jaws, Teeth, Cheeks, 
Forehead, Hair. Beard, Com- 
plexion. Neck, Ears, Hands, 
Feet, Voice, Walk, Laugh. 
Mode of Shaking Hands. 

Etlinology.— The dif- 
ferent Kaces Described- 
National Types illustrated. 

Character Reading 

More than a Hundred noted 
Men and Women Introduced 



Physiognomy Ap- 
plied—To Marriage, to the 
Training of Children, to 
Personal Improvement, to 
Bui^mesB, to Insanity and 
Idiocy, to IJeallh and Dits- 
ease, to Classes and Proies- 
sione, to Personal Improve- 
ment, and to Character 
Heading generally. 

Animal Types.— 

Grades of Intelligence, In- 
stinct and Pea.-<on ; Animal 
Heads and Animal Types. 

O r a p Ii o m ancy,— 

Character Revealed in Hand 
Writing with Specimens- 
Palmistry— illustrated. 

The Great Secret. 

—How to be Healthy and 
How to be Beautiful— Men- 
tal Cosmetics— interesting. 

Aristotle and St. 

Paul. — A Model Head ; 
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Education and Self-Imi>rovement Com- 
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Ph^n^^i^-*^?^?'^ Plarenolo-y. By Geo. Cojibe." 
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One who wishes to get a practical knowledge ol 
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-A. NE^W^ BOOK ITOR 

HUSBANDS, WIVES, SONS 

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ITS Members. Including Husbands and 
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present work is timely. 

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Ifeaver-s Works for tlie Yoimo^.— Compris- 
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HTopes and Helps for tlie Yonnsf of botli 

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The above most valuable Works will be sent, by mail, 
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The Illustrated Annuals 

For Eight Tears Combined in One Voluma 
From th2 Contents. 

1 8 G5,— Physiognomy Ulas. Debate in Orania. 

f^glitin^ Physiognomies Ulus. Palmer, the English Pois- 
oner. Character in the Eyes. Where to find a Wife. 

9 6 6 .—Character in the Walk. Uties of Phrenology. 
Stammering; and Stuttering— A Cure. Two 
Qualities of Men. Home Courtesies. "Vanderbilt. Langu- 
age of ilyes. Phrenology and Physiology. Brigham Young. 

> 6 7. —Names of the Faculties. About Fat and 
liean Folks, Thomas Carlyle. How to Study Phren- 
ology. Matrimonial Mistakes. Handwriting. How to 
Conduct Public Meetings. Significance of Shaking Hands. 
Basbfulness— Diffidence — Timidity* How 
to Change our Temperaments. 

'68.— A Brief Glossary of Phrenological Terms. 
Jealousy— Its Cause and Cure. Marriage of 
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'69.- TrueBasisofEducatioB. Blind Tom. What 
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Weight of Brains. Temperament of Cattle. How to Study 
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'TO.— Our Editors — Bryant, Greeley, Bennett, 
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Children Resemble Parents. Science of Conjugal Srelec- 
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'71.— National Types of Female Beautv. Phren- 
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Perceptives. Personal Beauty. West Point— How to 
Enter. How to Study Men. Definitions of the Organs. 

'72.— Man's Place in Nature. Science of Man. 
Phrenology Defined. Science and Religion. Government 
of Children, Criminals, Insane, and Idiots. Physiogno- 
my. Phrenologj^ as a Profession. Dr. iMilman, Sumner, 
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THE 

PHRENOLOGICAL JOURNAL, 

A FIRST-CLASS 
FAMILY MAGAZINE, 

Devoted to 

Plirenoloojy— The Brain and its Functions; the 
Location and Nature of the Organs, with directions 
for cultivating, improving, and restraining. 

Pliysiogiioniy— *' Signs of Character, and How 
to Kead Them," on Scientific Principles. 

Kthnolosy— or the Natural History of Man, Ori- 
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Tribes and Nations, with illustrations. 

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What v/e should Eat and Drink, How we should bo 
clothed, and How to Exercise, Sleep and Live. 

Portraits, Sketebeji and Biograpliies— 
of the leading Men and Women of the World. 

Parents and Teaclsers— As a guide in Educa- 
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perior, as it renders training and government easy. 

Much general and useful information on the leading 
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